9/9/13

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Água Viva






"Only the act of love - the limpid star-like abstraction of feeling - captures the unknown moment, the instant hard as crystal and vibrating in the air and life is this untellable instant, larger than the event itself: during love, the impersonal jewel of the moment shines in the air, the strange glory of the body, matter made feeling in the trembling of instants - and the feeling is both immaterial and so objective that it seems to happen outside of your body, sparkling on high, joy, joy is time's material and the essence of the instant."

-Clarice Lispector "Água Viva"
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(re-mixed)



The Furies

our love - it wants
a new wound
a body, more beautiful,
to condemn us to want 
an empty jar
beneath the earth
a mouth without sound
a double knot to
bind, without cease or order,
my arms to empty memory.

The Well

i keep my love
on heights
bearing remnants of proud anger.
it sinks in bitter swamps
guiding wounded kisses
through open windows.

8/11/13

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i love you

By forces in which you do not dare believe, I have been instructed to declare myself in order to find resolution.

6/14/13

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Every day, life.

“People who talk about revolution and class struggle without referring explicitly to everyday life, without understanding what is subversive about love and what is positive in the refusal of constraints, such people have a corpse in their mouth” ― Raoul Vaneigem

6/8/13

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"We must die as egos and be born again in the swarm, not separate and self-hypnotized, but individual and related."

-Henry Miller, Sexus

Apiculturist Michael Theile photographed by Amanda Lane






5/29/13

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Preliminary Materials

"Society's final moment of socialization, Empire, is thus also the moment when each person is called upon to relate to themselves as value, that is, according to the central mediation of a series of controlled abstractions. The Young-Girl would thus be the being that no longer has any intimacy with herself except as value, and whose every activity, in every detail, is directed to self-valorization. At each moment, she affirms herself as sovereign subect of her own reification. The unquestionable character of her power, all of the crushing assurance of this flattened being, woven exlusively by the conventions, codes, and representations fleetingly in effect, all the authority that the least of her gestures incarnates, all of this is immediately indexed to her absolute transparency to 'society.'

Precisely because of her nothingness, each of her judgements carries the imperative weight of the entire social order, and she knows it."

 

5/16/13

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To the witches, crones, hysterics, spinsters, she-wolves, oracles, and misfits: A call to action.

"Our mind does certain things [acts] and undergoes other things, namely, insofar as it has adequate ideas, it necessarily does certain things, and insofar as it has inadequate ideas, it necessarily undergoes certain things."

Remove from your life those who will not let you speak or who cannot listen.

Do not make humanitarian pleas of your oppressors - they do not love you. They can barely see you.


 

5/14/13

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"I dearly love the form of things. Particularly because forms make light visible and light is a sublime substance. We only see light when it is reflected from the surfaces of forms and the diverse materials of which they are made. It is not only that light pervades the universe and is a kind of messenger of the histories and mysteries of time and space but that it is also the most intimate of phenomena, even as it is the most ephemeral. Maybe the two concepts are inexorably linked, sensuality and transience, intensity of experience and its brevity."
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"When a number of bodies whether of the same or of different size are so constrained by other bodies that they lie upon one another, or if they so move whether with the same degree or different degrees of speed, that they communicate their motions to each other in a certain fixed manner, we shall say that those bodies are united with one another and that they all together compose one body or individual, which is distinguished from the others by this union of bodies"
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Catherine Ribeiro + 2 Bis - Voyage I

4/30/13

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What chaos and rhythm have in common is the in-between - between two milieus, rhythm-chaos or the chaosmos: "Between night and day, between that which is constructed and that which grows naturally, between mutations from the inorganic to the organic, from plant to animal, from animal to humankind, yet without this series constituting a progression..." In this in-between, chaos becomes rhythm, not inexorably, but it has a chance to. Chaos is not the opposite of rhythm, but the milieu of all milieus. There is rhythm whenever there is a transcoded passage from one milieu to another, a communication of milieus, coordination between heterogeneous space-times. Drying up, death, intrusion have rhythm. It is well known that rhythm is not meter or cadence, even irregular meter or cadence: there is nothing less rhythmic than a military march. The tom-tom is not 1-2, the waltz is not 1,2,3 music is not binary or ternary, but rather forty-seven basic meters, as in Turkish music. Meter, whether regular or not, assumes a coded form whose unit of measure may vary, but in a noncommunicating milieu, whereas rhythm is the Unequal or the Incommensurable that is always undergoing transcoding. Meter is dogmatic, but rhythm is critica; it ties together critical moments, or ties itself together in passing from one milieu to another. It does not operate in a homogeneous space-time, but by heterogeneous blocks. It changes direction. Bachelard is right to say that "The link between truly active moments (rhythm) is always effected on a different plane from the one upon which the action is carried out." Rhythm is never on the same plane as that which has rhythm. Action occurs in a milieu, whereas rhythm is located between two milieus, or between intermilieus, on the fence, between night and day, at dusk, twilight or Zwielicht, Haecceity. To change milieus, taking them as you find them: Such is rhythm. Landing, splashdown, takeoff... This easily avoids an aporia that threatened to introduce meter into rhythm, despite all the declarations of intent to the contrary: How can one proclaim the constituent inequality of rhythm while at the same time admitting implied vibrations, periodic repetitions of components? A milieu does in fact exist by virtue of a periodic repetition, but one whose only effect is to produce a difference by which the milieu passes into another milieu. It is the difference that is rhythmic, not the repetition, which nevertheless produces it: productive repetition has nothing to do with reproductive meter. This is the "critical solution of the antinomy."

-  Deleuze and Guattari, 1000 Plateaus: Of The Refrain

4/28/13

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touching from a distance

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(She thinks I still care.)


Making a real life is not only making it - the largest part is escaping from losing it.

4/27/13

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Meryl texted at 2:44am to tell me about her dream.



"I dreamed I was in England, was meeting some childhood friends. I was on a grassy hillside. Suddenly, an adorable tiny chipmunk landed in the crook of my arm and laid a small, translucent egg! Also-- there were giant, lurky monsters in the ocean. Slow, dark prehistoric creatures." 

-MTP 

4/22/13

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Man is a territory





For fuck's sake, will you please
stop dismantling the furniture!
There's nowhere left to sit.
You trying to teach me something?

Beautiful rooms.

This is what I know:

The sound of your voice echoing off of naked walls
makes me want to vomit. 
 
 


2/3/13

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Becoming-Intense, Becoming-Animal, Becoming-Imperceptible



(VII of Swords / X of Cups)

Inhabit the in-between spaces, the borderlands. Step outside of the center and become-animal. Experience the Other as an extension of yourself. Take control of your powers and cause disruptions, form new alliances. Make magic. Make love. Smash the State.

---------------------------------------------------------


(From Deleuze and Guattari's Thousand Plateaus, "Memories of a Sorcerer II"):

...There is an entire politics of becomings-animal, as well as a politics of sorcery, which is elaborated in assemblages that are neither those of the family nor of religion nor of the State. Instead, they express minoritarian groups, or groups that are oppressed, prohibited, in revolt, or always on the fringe of recognized institutions, groups all the more secret for being extrinsic, in other words, anomic. If becoming-animal takes the form of a Temptation, and of monsters arounsed in the imagination by the demon, it is because it is accompanied, at its origin as in its undertaking, by a rupture with the central institutions that have established themselves or seek to become established...

...The politics of becoming-animal remains, of course, extremely ambiguous. For societies, even primitive societies, have always appropriated these becomings in order to break them, reduce them to relations of totemic or symbolic correspondence. States have always appropriated the war machine in the form of national armies that strictly limit the becoming of the warrior. The Church has always burned sorcerers, or reintegrated anchorites into the toned-down image of a series of saints who only remaining relation to animals is strangely familiar, domestic. Families have always warded off the demonic Alliance gnawing at them, in order to regulate alliances among themselves as they see fit. We have seen sorcerers serve as leaders, rally to the cause of despotism, create the countersorcery of exorcism, pass over to the side of the family and descent. But this spells the death of the sorcerer, and also the death of becoming. We have seen becoming spawn nothing more than a big domestic dog, as in Henry Miller's damnation ("it would be better to feign, to pretend to be an animal, a dog for example, and catch the bone thrown to me from time to time") or Fitzgerald's ("I will try to be a correct animal though, and if you throw me a bone with enough meat on it I may even lick your hand"). Invert Faust's formula: So that is what it was, the form of the traveling scholar? A mere poodle?

AND ALSO!

(From Tiqqun's "Preliminary Materials For a Theory of the Young-Girl")

...The stranglehold of Spectacle over the public expression of desires, the biopolitical monopoly on all medical power-knowledge, the restrains place on all deviance by an army ever better equipped with psychiatrists, coaches, and other benevolent "facilitators," the aesthetico-police booking of each individual according to her/his biological determinations, the ever more imperative and detailed surveillance of behavior, the proscription by common accord against "violence," all this enters into the anthropological project, or rather the anthropotechnical project of Empire. It is a matter of profiling citizens...

...The vanquished in this war are not so much citizens as those who, denying its reality, have capitulated from the outset: what THEY allow the vanquished, in the guise of "existence," is now nothing by a lifelong struggle to render oneself compatible with Empire. But for the others, for us, every gesture, every desire, every affect encounters, at some distance, the need to annihilate Empire and its citizens. A question of letting passions breath in their fullness.


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"The fact is that consciousness is by nature the locus of an illusion. Its nature is such that it registers effects, but it knows nothing of causes. The order of causes is defined by this: each body in extension, each idea or each mind in thought are constituted by the characteristic relations that subsume the parts of that body, the parts of that idea. When a body "encounters" another body, or an idea another idea, it happens that the two relations sometimes combine to form a more powerful whole, and sometimes one decomposes the other, destroying the cohesion of its parts. And this is what is prodigious in the body and the mind alike, these sets of living parts that enter into composition with decompose one another according to complex laws. The order of causes is therefore an order of composition and decomposition of relations, which infinitely affects all of nature. But as conscious beings, we never apprehend anything but the effects of these compositions and decompositions: we experience joy when a body encounters ours and enters into composition with it, and sadness when, on the contrary, a body or an idea threaten our own coherence."

- Deleuze, Spinoza: Practical Philosophy

(And the Hanged Man asks, "Well, which is it going to be?")
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Last night I dreamt that I woke up one morning and went out to my car only to find a bear sitting in the back seat. At first, I was afraid - the bear was large and imposing.

Then Bear (for that was the bear's name, he being not so much an individual bear, but rather, bear-ness itself) spoke: He told me that he had wandered from his home (Yellowstone State Park) along the rivers and through the forests during the night and when he awoke in the morning, he found himself in the city. The city was not where Bear wanted to be. He had gone too far in the darkness and now, here he was, stuck in a place in which he did not make sense and did not belong.

And so I agreed to help Bear get home.

That was the dream and a point of departure for my own attempt at returning to belonging and making sense.

Here, we have the Knight of Wands.

Wands are creative/intuitive and the Knight of Wands symbolizes putting an idea (likely creative or challenging to existing modes of being) into action. Both Bear and Knight of Wands represent bravery, courage and self confidence.

They urge us to channel our intuition and to open ourselves up. Trust in your ability to change course. The time for introspective hibernation is over, now we must re-awaken, rub the sleep from our eyes and make an inspired move without over-thinking it. Act first, think later. No more letting the winds blow us where they will.

Perhaps we, too have been wandering in the darkness only to find ourselves far away from where we want to be. Bear and the Knight of Wands join forces to help deliver us back to the place we belong.

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